Looming ever nearer now. I've finished my devised piece, a complete overhaul I made two days ago. Throwing all else out the window for an entirely minimalistic approach. Playing around with my box I came up with in image I found pretty darn hilarious. An entity wakes up trapped in a box and struggles to escape. Unsuccessful they choose not to give up, but to accept their fate and adapt to the situation, by cutting arm and leg holes in the sides of the box and standing up. A bow will signal the conclusion.
It's difficult for me not to feel it's too shallow, but it's much tidier and more concise than my other pieces, not to mention it's actually done: that's the important thing at this point. I also realise it's the only piece I've done so far that will fit in the space of 3 minutes.
A discussion with Lithana has helped me realise that I should put as much thought into how I will interact with the panel as I do into my pieces. I should pay very close attention to the other performer's pieces and the panel's reactions to them. I should have a very concrete idea of how I will rationalise my piece if the question arises.
Hamlet characterisation is still shaky but improving, I haven't done a character building worksheet yet, I may do that immediately after this post. I should endeavour to do several run-throughs on at least one juncture a day. This is where the most improvement can be made, given the simplistic nature of my other piece. Blocking still needs to be finalised. A video of Jeff Goldblum drawing attention to the importance of hands in characterisation struck a chord with me, it's making me consider discarding the sword for more fluent use of the hands. Still, to mime holding one would be no different. I can still focus on hand movements while holding the sword, my hands are not immobolised by that. Variations in grip, curling of the fingers, clenching of the fist, there are numerous nuances I could explore.
That's all for now.
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